Convergent Design recently released the Titan update for their Odyssey 7Q and Apollo lines that allows you to extract different HD angles from a single 4K live source. In this guest post, UK-based filmmaker Jonathan Warner runs us through the benefits of using this workflow.
In all spheres of business, the competitive landscape generates significant pressure for companies to remain profitable, or even stay afloat. Perhaps for this reason, some corporate clients have acquired a tendency to further tighten the purse strings. However, as content creators it’s important that we provide exceptional value for money so our clients remain happy and are more likely to keep commissioning work from us! That’s why I’m always looking at ways to streamline the workflow, or wring out as much productivity from the equipment I use as I can.
For example, one of my clients requires me to record business presentations that involve demonstrations of thousands of products over the course of a few days. The presentations need shooting for live projection around the conference room and, in addition, the recordings need to be uploaded to the client’s corporate intranet quickly after each presentation. In all cases, on-screen text needs to be generated on the fly for each product. Each product presented needs to be shot with a combination of wide and close-ups, which would ordinarily require multiple camera setups with two or more operators, increasing the cost. But there is another option.
The Titan feature for the Convergent Design Odyssey 7Q+ – 3 angles from a single 4K source
I recently purchased the Titan feature for my Odyssey 7Q+ which allows me to switch to multiple HD outputs from a 4K source. This means being able to go from a full wide-shot to cropped windows, effectively mimicking the effect of having a multi-camera setup. As the single camera stays in the same position, the perspective remains the same, but the ability to switch between wide and close-up very quickly as a single operator is certainly a boon.
The Titan feature gives you two cropped HD windows that you can move anywhere within the 4K frame with your finger on the touch screen. You can even change their position before cutting to one of them, allowing you to frame up your shot in advance. You can also move the window of the shot that’s currently selected, simulating a pan move.
In order to add on-screen text and graphics, I also use a Roland V-1HD vision mixer, which allows me to take the output of the Odyssey and mix it with graphics outputted from a laptop. Sometimes I use the output from Adobe Premiere, or if it’s just text I’ll use PowerPoint. In both instances, a black luma key on the Roland removes all the black parts of the image, leaving just the graphics that I want.
And that’s just one example of how to use the Titan feature of the Convergent Design Odyssey 7Q+. Since having this gear, I’ve been asked by a number of other clients to do similar work. The idea is to try and become as indispensable and useful as possible, providing that added value that customers demand.
For more information, visit the Titan info page HERE.
Does the new Titan feature sound like something that would benefit your workflow? Let us know in the comments below!

Save $500 on ALL upgrades for Odyssey and Apollo recorders with this NAB special sale from Convergent Design.
Convergent Design is tackling the external recorder market again. After a massive $500-price drop in June 2016, the company went onto the counter-offensive against the Atomos Shogun. With its more robust set of features, Convergent Design needed to attract more customers, as the Atomos Shogun evolved with a constant flow of really nice updates.
The Odyssey and Apollo offer paid upgrades to unlock more features, such as Raw recording or the ability to record multiple cams at the same time. With NAB knocking at the door, Convergent Design are now offering a $500 discount on ALL upgrades for both Odyssey and Apollo.
Odyssey Raw Bundle
This Raw Bundle includes all Raw Record Options currently available for the Odyssey7Q/7Q+, as well as free upgrades and additional camera support in the future. Price after discount: $495.
Titan HD Extract
Titan HD Extract uses one 4K camera to create three HD video signals. One frame is a Supersample of the full image area, and two are windows selected from within the original input. These windows can be panned smoothly through the 4K field and the three angles can be Live-Switched. All four HD signals can be recorded simultaneously in Apple ProRes with matching timecode and filenames. Price after discount: $295.
Odyssey Apollo Option
The Odyssey Apollo Option provides flexibility for multicamera productions. It allows you to monitor, record and live switch up to four simultaneous HD signals via 4x SDI Inputs, or 3x SDI and 1x HDMI input. A fifth channel is recorded with either the live switch or quad split view. Price after discount: $1295.
All upgrades have to be purchased online. You have to be quick, though, as Convergent Design has mentioned that this offer is for a limited time only.
You can upgrade your features at this incredible discounted price until 15th May 2017, by following this link.

4 years ago, the Canon C500 was announced as a top level Cinema Camera. What value does it have in today’s market? Here’s a few thing I’ve found out.
Our industry is moving so fast these days, that it seems every month there’s a new camera out. However, sometimes there is value in taking a step back and re-evaluating what’s already available out there.
The C500 was announced in late 2012, and back then Canon considered it as their top-of-the-tree Cinema solution. Its price has since then fallen so drastically, that it may have just found a new use. Once a flagship $20k cinema camera from Canon, it is only the industry around it that has changed since its release: the camera still provides 4K Raw/Half Raw up to 60/120 fps, 2K 12bit 4444, impressive dynamic range and color rendition. The difference? You can now find it new at a fraction of its original price, and buying one second hand is frankly a steal.
I’m not going to sit here and pretend I’m the first one to notice this little old gem hidden under the big, steaming pile of new cameras growing seemingly every month. Do a bit of research and you’ll find the plenty of forum topics where filmmakers romanticise owning their very own cinema camera that was used for that blockbuster film, by that top DOP.
I had my own reasons for my love affair with the Canon old boy. I bought a C500 with Odyssey 7Q+ recorder a couple of months ago to operate as a decent in-house body that doesn’t have protected investment when I need to get the likes of an Alexa Mini, Amira or RED EPIC in.
I thought I’d share a few thoughts for those considering a similar purchase. I won’t go into detail on aspects like image quality – this sort of thing has been covered many a time by people much more qualified than myself. These will be a more practical and hands-on set of observations.
I will give you a quick list of reasons as to why you SHOULD consider a C500, as the bulk of this article may otherwise seem like a list of reasons to NOT buy it. This is absolutely not the case! There are just quite a few considerations most blogs won’t tell you.
Canon C500 Highlights
Cost (2nd hand C500 and Odyssey 7Q+ was same price as FS7)
4K Raw/Half Raw via output up to 60/120 fps
2K 12bit 444 via output
Affordable internal media – Compact Flash
Easy and widely accepted post workflow (C log)
Built-in pro mod-cons (time code sync, multiple SDI outputs, genlock)
With this in mind, let’s take a closer look at some of the aspects of this system that you’ll want to consider.
Without an External Recorder, the C500 is a C300 Mark I
Simply put, without an external recorder, you get nothing worth noting spec-wise in the C500 that you don’t already get in a C300 Mark I. The internal recordings are the same 50Mbps CBR (4:2:2) MPEG-2 MXF files that cap out at 1920X1080 30p. All the 2K and 4K benefits come via the output modes of the C500.
Limited Selection of Compatible External Recorders
At the time of its release, the C500 was Canon’s flagship cinema camera, and lots of third-party companies offered external support for both high resolution and frame rate recordings.
These recorders still exist: the AJA Ki-Pro QUAD, Codex-S onboard recorder or the Convergent Design Gemini 4:4:4, for example. These were all designed to target the C500 market at that time, and as a result they’re big, they’re heavy and they’re expensive.
If you’re looking to purchase a C500 in today’s market as a single-operator style camera system, you really only have one choice: the Convergent Design Odyssey 7Q+.
Superseding the Gemini 4:4:4, the Odyssey 7Q+ takes on the guise of a modern recorder – light and compact, and also doubles up as a monitoring aid.
The Atomos Shogun Inferno should, in theory, support the C500 over time. Currently, however, it only converts the raw signal at standard frame rates to Apple ProRes, with no high frame rate support or Dual 3G-SDI support, which you need for capturing Half Raw 100-120 fps or Raw 50/60 fps on the C500.
High Frame Rate Support in High Capacity Raw Format Only
The previous two points highlight why the C500 can only really be considered in today’s market with the addition of an Odyssey 7Q+. Here’s an aspect that is unique to this camera/recorder combo: there is no support for high frame rates (50-120 fps) in any resolution in a compressed format*.
The Odyssey 7Q+ has the ability to convert the Raw C500 signal to a variety of Apple ProRes formats. In fact, this is one of the system’s major strengths. But what it can’t do is do so with any high frame rate options, at least currently. Instead, we are left with a data-hungry .RMF (RAW media format). Just how hungry? 1TB for 23 minutes of 120p Half Raw or 60p Raw.
It’s funny that we complain when something is too compressed, then go ahead and complain when it’s not compressed enough. That said, filling 1TB in just 23 minutes means you’re left with some serious offloading time before you can shoot on the same cards again.
Add to that that there is no support for incremental frame rates. The C500 onboard menu boasts 1-120p in 2K, but the Odyssey 7Q+ doesn’t support any of this. It’s crying out for an update to enable high frame rate recording in 2K and 4K resolution to Apple ProRes.
*.RMF is still compressed, but not in the same league as the likes of Apple ProRes.
Fan Noise
Despite a firmware update in 2014 that enabled the fan of the C500 to turn off when recording starts, after 8 minutes or so of 4K recording, the fan will come back on. Is it loud enough to be heard by your sound recordist? If your location is a good and quiet one, then the answer is “yes, they will”. In fact, Shane Hurlbut wrote this camera off for any documentary or interview use, and apparently it was his use of the C500 on Need For Speed that led Canon to implement the firmware update in the first place. I, for one, was less hasty to dismiss the camera.
There are a few workarounds, some more graceful than others. You can replace the fans with better and quieter ones. There’s even a guy in the U.S that sells bolt-on upgraded fan units, but they come at a bit of a price.
I made a quick on/off solution with a cheeseplate using some desktop fans powered via D-Tap. Yep, it’s big but it’s cheap, and is great for throwing on quickly for interviews. Quiet interviews for me are 99% on the tripod, so this allows me to put the fans back in the case when I need to be more nimble and sound is not as critical.
Testing my solution I got over an hour and a half of no-fan 4K recording. The fans never actually kicked in, I just got bored and figured the test was conclusive enough.
Consider The True Size And Cost
My DIY fan solution rolls straight into my last point. Truly consider the size and cost of your C500 system.
In 2K and 4K modes, the camera eats batteries, i.e. you’ll get less than 1 hour on a BP-955. I’m well stocked on Canon BP batteries, but usually run off V-lock as well to give me longer stints, as well as to provide power for the Odyssey and fans. With all this rigged up, the camera gets pretty big, particularly considering how tall the camera is to start with.
Next is the cost. It is an affordable system compared to other camera packages: cheaper than the C300 Mark II, and cheaper second hand than an FS7 with extension unit and respective card media. Still, there are a lot of accessories you need in order to get it up to scratch.
A top handle, battery solutions (lots of BPs, V-lock plate or both), the Odyssey 7Q+, the extra SSDs to handle the 4K raw workflow, fast on-site hard drives for offloading rushes… It’s a list that, like with any camera system, can rack up pretty quick.
Going back to the original question, is the C500 still worth? I think there’s definitely a place for it in the market still, more than some will think. But it relies so heavily on a good external recorder, and it seems that Convergent Design has moved on from continued support; I ambitiously hope they find value in the old system, revising the feature list & offering 2K high frame rate and 4K high frame rate capture to Apple ProRes.
I personally feel it has the edge on the Sony FS7 in terms of color rendition, SDI output options, and 2K 12bit mode. It’s also a much faster, reliable and available system than some of the Blackmagic options, and cheaper than the C300 Mark II, although you do miss out on Dual Pixel AF, dynamic range and better internal recoding options.
It would be interesting to hear what filmmakers in general think of the Canon C500, how do you feel it holds in the context of today’s market? Would you get one if the price was right?

At NAB in April Sound Devices / Video Devices surprised us when they announced their version of a 4K disk recorder, the PIX-E5 Series. Now, a few months later, the new device is in our hands and we’re sharing a first look in this exclusive Video Devices Pix-E5 Review.
Many thought this would be the best 4K recorder. But is it? In this review we will check out the Pix-E5’s most important features, see how it performs and look at its limitations. First let’s see what the Video Devices Pix-E5 has to offer:
Video Devices PIX-E5 Review
The Video Devices PIX-E5 is a heavy duty disk recorder with a bright 5″ display and a native 1080p resolution. While it’s capable to record 4K up to 30p and has SDI and HDMI inputs and supports numerous formats, it is at the same time designed to be compact! This compactness paired with a very low price is the PIX-E5’s main selling argument for us. The recorder is also available as a more affordable hdmi-only version called PIX-E5H.
Mounting
We equipped our Sony A7s with the Video Devices PIX-E5. To mount it we used one of the hot-shoes of the Varavon Armor II a7S Cage, our favourite cage in our recent cage review. With a good Novoflex ball-head and hotshoe adapter the PIX-E5 is locked to the cage well.
I must admit the PIX-E5 is heavier than expected. With a weigt of 700g including the 2 batteries it’s still not ideal to mount on top of a Sony A7s that weighs a little more than half of that. But with a good ball-head it should be solid enough to work on a tripod in most cases, certainly better than larger and heavier disk recorders out there.
The PIX-E5 comes without a case, battery and any other accessories. The convenient flight-case with batteries and storage has to be bought separately and costs another $1.100. The Video Devices PIX-E5 is quite affordable at only $1.395, but that accessory package can really change the perspective. Alternatively you can just get all required items separately. A basic package will cost $393 (see the end of this article for a complete list of what to get).
Build Quality
In terms of build quality the Video Devices PIX-E5 is the most solid disk recorder I’ve ever touched. As such I find it is definitely “fit for rentals”, meaning it can withstand some treatment.
The die-cast metal chassis is robust and all other parts fit so well, it feels like the whole device is built from a single block, including the batteries and SSD that are securely locked in place.
The metal jog wheel and menu buttons give this recorder the analogue edge over anything else out there in terms of build quality.
Operation
The Video Devices PIX-E5 has a lot of options, but feels quite easy to use in terms of operation. Once you have understood the basic concept of the system menu, alternative button assignments and audio menu, you’re basically set. It only takes a few minutes to learn.
The PIX-E5 has all the important information conveniently placed at the edges of the high resolution screen. All the basic overlays like false-color, zebra, peaking, waveform, vectorscope and histogram can be activated via the function buttons at the bottom of the screen and values can be adjusted with either the jog wheel or a long press on one of the function buttons.
Even though everything can be controlled via the buttons and jog wheel, the PIX-E5 also has a touchscreen that helps speed up operation even more. For example when you tap on the screen you get a 200% or 400% zoom and you can move around the picture by simply dragging your finger across the screen, much like on any mobile device nowadays.
Operating the PIX-E5 is easy and intuitive, so that’s another big plus. The only thing to criticise here is that some of the overlays appear pixelated and have a stuttering motion to them which makes the whole experience less smooth.
A negative thing we noticed was that triggering recording via HDMI is not possible at this time, at least with the Sony A7s in 1080p it isn’t.
(Update: The PIX-E5 now also features rec-trigger with the newest firmware.)
There is a dedicated menu for sound recording. Here you can record up to 8 tracks and assign each one to a different input with a dedicated gain setting. This solution is very nice and makes this recorder perfectly laid out for a more professional approach to sound recording. Of course you will only get professional XLR inputs via the optional XLR Audio Interface which wasn’t available at the time of the review.
Even without the audio interface we could use one of the stereo input jacks’ channels to route our wireless mic into and assigned the camera’s HDMI audio stream to the second channel. The monitoring volume can be set via the jog wheel. It’s all really well thought through and it feels like a reliable device not only for video but for sound as well.
Battery Life
The PIX-E5 accessories package comes with two large L-Series batteries. We didn’t use those batteries, instead we went for the smallest and lightest Sony L-Series Batteries we had to see how long the recorder lasts.
The Video Devices PIX-E5 has two battery slots, but only requires a single battery to operate. When one battery runs out it switches to the other without interruption. You can also remove either one of the batteries in the middle of the recording. That’s convenient.
When a battery is about to run out you get a warning about 10 minutes before shutdown. You get a second warning 10 seconds before shutdown and at the same time all recording is stopped. So basically it’s really hard to lose a recording with this device. It all seems rock solid.
The single small Sony L-Series Battery ran a 1080p recording in ProRes 422 for 35 minutes. So with two batteries you should be able to do more than an hour of recording. Not too convincing battery life, the Atomos Shogun is a little less energy hungry there.
Storage
The PIX-E5 comes without any storage out of the box. You can either get a Video Devices Speed Drive 240GB for $250 or only buy the Speed Drive Enclosure for $59 and a Samsung 850 EVO mSATA drive 250GB for $99. The enclosure comes with a small screwdriver so you can upgrade the storage capacity at any time.
These Speed Drives are the most ingenious storage solution I’ve seen. As you can see they are quite affordable, upgradable and at the same time they are compact and offer high speeds. Another advantage of this Video Devices invention is that the Speed Drive becomes a USB 3.0 stick once it’s unplugged from the PIX-E5. So there’s no need for a card reader or disk reader. You just record and then plug that drive into your computer and that’s it. It’s fast, it’s affordable and it’s as easy to use as it gets. Fantastic.
Fan & Heat
The PIX-E5 has a fan and it’s not exactly silent. It’s not annoying either, but it’s certainly too loud for shoots where audio is critical. That said the fan turns off during recording unless you disable that feature in the system menu, so it’s not an issue.
The recorder itself produces a lot of heat. After a few minutes the device is so hot that you can’t touch it for too long. Video Devices explained that the recorder dissipates the heat through its metal case and that’s why it’s getting so hot, but users shouldn’t be concerned.
Ok, so it gets hot. This could be a downside in some situations, but I guess it’s the trade-off for it being so compact and silent during recording and it’s something most people will simply accept, even though it is a little irritating to be honest.
Recording Options
The Video Devices PIX-E5 offers all flavours of Apple ProRes. You can get the lowest quality and smallest files with Apple ProRes Proxy (8-bit), but also work with the new Apple ProRes 4444 XQ (12-bit) codec for the highest data-rate (500 Mbit/s at 1080p).
In terms of formats the PIX-E5 can do:
HD 720p, 1080i, 1080p: up to 60 fps
[UPDATE firmware Dec. 2015] up to 120fps in 1080p (HDMI Only)
UHD 3840 x 2160 (HDMI Only): up to 30 fps
4K 4096 x 2160 (HDMI Only): up to 30 fps
[UPDATE firmware Dec. 2015] 4K via 6G-SDI (currently only supported by Blackmagic URSA)
Here we can see the limitations of the device. There’s no 4K via 3G-SDI, and no high frame-rates. Last week the Odyssey 7Q got an update and is now capable to record 4K ProRes files in 60p via SDI and even does 240fps at 1080p. This is where the PIX-E5 falls behind. [UPDATE firmware Dec. 2015] With the new firmware update there is now 120p slow motion for cameras like the Sony a7S.
Another limitation in terms of recording options is that the PIX-E5 can only record the formats it receives. So if a 4K HDMI signal comes in, you cannot record it in 1080p. There is no internal format conversion.
And talking of limitations at this time the Video Devices PIX-E5 unfortunately cannot handle the 12-bit (RAW) streams coming from the Sony FS700 and Sony FS7 (with the extension unit).
All this might change with future firmware updates. Video Devices is known to take good care of their products and to add more features down the road. They do not disclose future firmware features and told us they prefer to take time to get things right and then surprise people.
[UPDATE firmware Dec. 2015] By now Video Devices has released several updates for the PIX-E5 and PIX-E5H recorders to make them more feature rich. Other noteworthy improvements include:
rec trigger
anamorphic desqueeze for cameras like the Panasonic GH4
120fps slow motion via hdmi
custom LUT support in .cube format
and many more. You can see a list of all firmware related advancements here
Which accessories do I need for the PIX-E5?
As mentioned earlier the Video Devices accessories package is a little expensive. Instead I’d recommend to buy all items separately. Here’s a basic package you could get:
Speed Drive Enclosure $59
Samsung 850 EVO mSATA drive 250GB $99
PIX-E Flight Case $145
2x Sony L-Series Batteries $70
Battery Charger $20
This is really the basic stuff. This package costs $393 on top of the recorder itself. If you want to be prepared you should get at least:
A second Battery Charger $20
2 more Sony L-Series Batteries $70
A second Speed Drive Enclosure $59
A second Samsung 850 EVO mSATA drive 250GB $99
If you don’t already own it also get a good mounting solution like the Novoflex ball-head and hotshoe adapter we used, or even a larger ball-head and 1/4″ solid mounting point. Also a good HDMI cable and larger batteries could come in handy.
For a list of other mSATA drives compatible with the Speed Drive Enclosure, check Video Devices’ approved media page.
Conclusion
In this Video Devices PIX-E5 review we took a close look at the new 4K disk recorder on the block and we found it comes with some very nice features that we wouldn’t want to miss anymore. The rock solid build quality and design ideas, the perfect storage solution and convenient operation all make this recorder a top recommendation.
Unfortunately there are still some limitations in terms of recording formats that we hope Video Devices will address in the future. At this time you cannot record 4K via 3G-SDI or tap into the 12-bit RAW outputs on the Sony FS7 and FS700.
For people looking for a great HDMI disk recorder to get 4K out of the Sony A7s, look no further. At this time the Video Devices PIX-E5 and PIX-E5H (that only does HDMI and costs $200 less) seems to be the best option to get 4K out of the A7s conveniently. But in terms of its SDI functionality the PIX-E5 certainly needs improvement.
Check out PART 2 of this review, a comparison to the Atomos Shogun HERE.
Pro’s:
High quality bright 1080p screen
Silent (fan is disabled during recording)
Rock solid build quality
Great ergonomics, design and operation
Great sound controls and input options
Affordable storage media
Good battery life
Essential monitoring overlays are there (histogram, zebras, etc…)
Modest price
Cons:
No 4K via 3G-SDI
Doesn’t recognise 12-bit SDI outputs (FS7 & FS700)
Gets very hot
Monitoring overlays aren’t “smooth” and a bit pixelated (see detailed explanation under Operation)
Avid DNxHD codec missing

Convergent Design has released a recorder that will compete nicely with the Atomos Shogun. The Odyssey 7Q+ is a 4K raw recorder, with the addition of a HDMI input for direct compatibly with cameras like the Panasonic GH4 and Sony A7S.
The Odyssey 7Q is a compact solution combining advanced recording abilities over SDI with a 7.7″ OLED screen for monitoring. The Odyssey 7Q+ offers exactly this, but with a HDMI input also.
Check out the below video released by Convergent Design discussing the wide capability of Odyssey 7Q+.
The down conversion of a signal is a nice touch; on smaller budget shoots sometimes not every component is 4K compatible. Having the ability to record in 4K but output FullHD will help in these workflows, a perfect example of this is displayed in the above video where you want to record drone footage in 4K, but send a wireless signal in 1920X1080.
The ability to apply LUTs to your image whilst recording in raw/log is great; not everyone on set will know how to determine a log image, having the ability to supply an image in the ballpark of a finished result is much more pleasing to clients.
The Odyssey 7Q+ has the ability to record 4K images up to 60p, and 2K images up to 120p. The purchase of the device includes ProRes capture of up to 30p in 4K, and 60P 2k/1080. The former mentioned higher frame rates are unlocked with an additional software purchase/hire.
This is worth noting with the 7Q+, like all Odyssey recorders only certain features are included in the initial purchase, this along with proprietary media can significantly add to the overall cost of your package, so factor this into your purchase. Here is a list of the included features and available paid upgrades:
Included Recording Options
Compressed Formats:
4K/UHD 10-bit YCC 4:2:2 up to 30fps in Apple ProRes 422 HQ
2K/1080p 10-bit YCC 4:2:2 up to 60fps in Apple ProRes 422 HQ
1080i 10-bit YCC 4:2:2 up to 60i in Apple ProRes 422 HQ
720p 10-bit YCC 4:2:2 up to 60fps in Apple ProRes 422 HQ
Uncompressed Formats:
2K/1080p RGB 10/12-bit 4:4:4 up to 30fps in DPX file format
1080p RGB 10-bit 4:4:4 up to 60fps in DPX file format
Record Options for Purchase or Rental
ARRI ALEXA
ARRIRAW (16:9) up to 60fpsCanon C500
4K (4096×2160) RAW up to 60fps
UHD (3840×2160) RAW up to 60fps
4K “Half-RAW” up to 120fpsSony FS RAW
4K RAW up to 60fps
4K RAW 120fps burst
2K RAW up to 240fps
“4K24K” 4K RAW to 4K Apple ProRes 422 HQ up to 30fps
“4K2HD” 4K RAW to HD Apple ProRes 422 HQ up to 60fps
POV RAW
POV 2K 10-bit RAW
POV HD 10-bit RAW
POV HD 12-bit RAW
Note: ARRIRAW above 30fps, Canon RAW 50/60fps, and Sony FS 2K RAW 200fps and 240fps require two SSDs
And here is a list of the key features of the Odyssey 7Q+
7.7″, OLED, 8-bit, touchscreen panel
1280×800 resolution
Intuitive touchscreen interface
3400:1 contrast ratio, true blacks
HD/2K/UHD/4K recording over HDMI or SDI
2x 3G-SDI inputs, 2x 3G-SDI outputs, 2x bi-directional inputs
Supports Single, Dual, and Quad Link formats
HDMI input: up to 1080p60 4:2:2, up to 30 fps in UHD (3840×2160), and up to 24 fps in 4K (4096×2160)
HDMI output: up to 1080p30
Output downscaling
2 channels of embedded audio, 48kHz, 24-bit
ARRI, Canon, and Sony LUT Support
Image analysis tools (Waveform, Histogram, False Color, Focus Assist, Zebras, Pixel Zoom)
The Odyssey 7Q+ is available for pre-order now, and is likely to ship before the end of the year. At $2295.00 it is more or less in the ballpark of the Atomos Shogun. Although as stated earlier, media and additional firmware support will significantly up the price (albeit with more peripherals, so pick the package that suits you best).

Convergent Design has announced a significant firmware upgrade to the Odyssey 7Q raw recorder enabling 4K ProRes 422 HQ recording for a variety of camera formats.
The update will bring the Odyssey 7Q 4K ProRes support for cameras such as the Sony F5, Panasonic GH4 and Phantom Flex4K. It will also enable a new 4K raw mode for the C500 and FS700.
This new record mode will take the 4K raw output of your respective camera setup, and convert it to an Apple ProRes 422 HQ at 4K resolution. Whilst raw is great in many regards, in certain workflows the large file sizes can be detrimental. Apple ProRes comparatively will offer a much more compact size whilst maintaining a high quality image and robust codec.
The new update for converting 4K raw into Apple ProRes 422 HQ will be a free update to users whom have already paid for the standard 4K raw feature (or just a paid update for first time buyers/upgraders), and will be available later in the month.

Convergent Design has released new firmware for their Odyssey 7 & Odyssey 7Q recorders. The update adds higher framerates for ProRes 422 HQ recording, new features in playback mode and increased finger drag functions for pixel zooming.